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Baker's S>I;oto Cart) Book 


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Written and Published by 


WILLIAM J. BAKER 

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PORTLAND, OREGON 


COPYRIGHT 1916 BY WM. J. BAKER 


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OCT 28 1916 


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BAKER’S SHOW CARD BOOK 


1 


Show Card Writing 

In publishing this book it is my desire to give the student a practical course in 
Show Card Writing, in a simple and comprehensive form. With this idea in view 
I have endeavored to simplify the instructions by using numerous illustrations of 
practical work, and by selecting only such alphabets and decorations as are suitable 
to show card work; by this I mean alphabets and decorations that are especially 
adapted to brush work and designed for speed. 

The show card being of a temporary nature must necessarily be low in price, and 
in order that they may be profitable to the card writer, must be rapidly executed. 
For this reason I wish to impress upon the student the importance of speed. The 
more speed, the greater the profit, and in most cases speed is inducive of a more grace¬ 
ful, easy letter. 








2 


BAKER’S SHOW CARD BOOK 


Show cards may be divided into two classes. The simple or cheap card used for 
ordinary purposes, which should be kept very plain, with little, if any, decoration, 
and the fancy or decorated card for window display, or for special occasions, the price 
of which may only be 'determined by the material and time expended. 

As I have stated before, speed is very essential, and for this reason care should 
be given to the selection of the style of letter used for cheap cards. The simple one 
stroke letter (by which I mean any letter whose individual parts may be executed 
with one stroke) is best adapted to this class of work. 

The inscription on a card should seldom be lettered with but one style of letter¬ 
ing. There is usually one word or line which should be given more prominence than 
the rest of the inscription. In other words, a display line. This word or line should 
be lettered with some bold style, such as Plain Poster, or, if a finished letter is desired, 
I would suggest a Roman, either a light or heavy face style, according to the type of 
card. That you may better understand the importance of display I refer you to the 
many illustrations in this book. These cards are the finest examples of up to date 
show card work ever published, and should prove of valuable assistance to the pro¬ 
fessional as well as the student. 







BAKER’S SHOW CARD BOOK 


3 


cyllphabets 

In choosing alphabets I have taken into consideration only those that a practical 
show card writer should use. These alphabets are derived from long established and 
well known styles of lettering modified to suit the show card profession. 

Practical show card writers seldom use more than two or three alphabets. It is 
true they change from time to time or in fancy cards use lettering that seldom enters 
into their daily work. I recommend this practice to the student. Perfect yourself in 
two or three of the easiest and most popular alphabets, such as “Show Card Italic,” 
“Decorative Roman” and “Plain Poster.” First master these alphabets and the others 
will be easy. In this way you will be able to execute cards in much less time than if 
you attempt to master all the alphabets. 

I will describe the alphabets in the order in which they are illustrated on the fol¬ 
lowing pages. 

Show Card Italic 

This is without doubt the fastest and most easily executed of all show card 
alphabets. With a little practice the student will find that the slanted strokes are 
more easily executed than the straight strokes and much faster. For this reason it is 
especially adapted to the low priced cards. It may be used for display and secondary 
lettering on the same card with good effect, or a combination of plain poster or 









4 


BAKER’S SHOW CARD BOOK 


Gothic upper case letters for display and show card italic for secondary lettering is 
very pleasing and makes an especially strong card. 

Decorative Roman 

This is one of the most artistic of all show card alphabets as well as the most use¬ 
ful. It is designed especially for secondary lettering but may be used for display 
where a light artistic letter is desired, using upper and lower case letters, or in other 
words, capitals and small letters. Never use all upper case letters of this alphabet as 
in some cases these letters are finished with too many flourishes. However, if 
the extra flourishes are eliminated in all letters except the first letter in each word 
or line as the case may be, a very attractive line may be obtained with this alphabet. 

You will note in some instances there are two styles of the same letter, (A, E, 
P, R, S, T, W, Y and Z) in the upper case and (A, D, E, H, N, S, T and Y) in the lower. 
This is done for choice. For instance I will take the letter (H). The second (H) in 
the lower case is very attractive when used in conjunction with the first or round 
(T) in the upper case. When so used they are joined with the cross stroke of the (T). 
Many illustrations of this will be found among the cards in this book. The fancy (E) 
of the upper case is also very attractive when used properly, for example, see Plate 64 . 









BAKER’S SHOW CARD BOOK 


5 


Q6CDEFGMJK 

LMNOPQRSTU 

VWXYZS) 

Qdcc(efghijf?lmnopcfrs 

turWJiyT."1*234-567890 

PLATE 2 

SHOW CARD ITALIC 




6 


BAKER’S SHOW CARD BOOK 


In Plate 4 I have used this alphabet for the entire inscription merely using a larger 
and heavier letter for display. Note the close spacing and the letter S in the word 
WAISTS. This freak spacing and lettering is very effective when not overdone. 
There are many examples among the card illustrations, especially in the secondary 
lettering, that will give you some idea of the liberties that may be taken with this style 
of lettering. 

The lettering on this card was done in a rich dark blue on a delicate grayish blue 
mat board, the larger lettering outlined with white and the decorations and underlin¬ 
ing in white and light blue. 

Another example of this alphabet is shown in Plate 5 . It is used in this case for 
secondary lettering with especially good results. The large display lettering is a com¬ 
bination of Decorative Roman with the heavy spur of the Spur Poster. The body of 
the letter being made heavy to conform with the heavy spurs. 

This card is done on a light apple green, rough surfaced mat board. The display 
lettering a beautiful medium dark green, air brush shaded with black. Small lettering 
white. Decorations pink roses and green foliage and scrolls. 







BAKER’S SHOW CARD BOOK 


7 


(1TOIWGM 

kMDfFQTO 

OTUWWXTOZ 

aabcddcf^Mijldm 

nnopqr5j>l Uiva»xy.YC> 

PLATE 3 

DECORATIVE ROMAN 






8 


BAKER’S SHOW CARD BOOK 


Show Card Roman 

Show Card Roman is an exceptionally good all around letter for either display 
or secondary lettering. It is somewhat condensed, especially the full faced letters, 
while the round letters (C, G, O and Q) are given full space. This oddity in a line of 
lettering is very effective; however it is not necessary for one to adhere strictly to the 
alphabet in its condensed form, the letters may be spread to suit the individual taste. 
Condensed letters and close spacing the student will observe is a characteristic of show 
card lettering. 

Plain Poster 

This alphabet is an exceptionally strong plain letter, especially adapted to large 
lettering and is very popular for poster work. This is a very good letter for display 
lines on cheap signs, as it is a very simple and speedy letter. The comparative size of 
the upper and lower case letters, as shown in this and some of the other alphabets, is 
not intended to show the correct proportion. The proportion is to some extent a mat¬ 
ter of taste; the letters will look well if the lower case are anywhere from one-half to 
two-thirds the size of the capital letters. 









BAKER’S SHOW CARD BOOK 


9 












10 


BAKER’S SHOW CARD BOOK 


ABCDCfGMJ 

KLMnOPQRS 

TIVWXYZ& 

aabcddcf^hJiijkklmTniin 

Ofqrraatt uuvay 

PLATE 6 

SHOW CARD ROMAN 









BAKER’S SHOW CARD BOOK 


11 


ADCDcrcnu 

Humorous 

TUVWXTZ& 

abcdef&hij klmnofqrsluvwxYilS 

1131561890 

PLATE 7 

PLAIN POSTER 







12 


BAKER’S SHOW CARD BOOK 


To illustrate Plain Poster and Show Card Roman in card composition I will call 
your attention to Plates 8 and 9. 

In Plate 8 I have used Plain Poster for display and Gothic for small lettering. The 
large lettering, price, figures and pipe are done in cream on a dark blue card. 

The small lettering and smoke are light greenish gray, the smoke is spatter work, 
a method which I will fully describe later. The tobacco tin is in gold. This makes a 
very strong and rich looking card. 

Show Card Roman is used for display in Plate 9 and is done in orange on a black 
card; the small lettering is a greenish gray and the moon a pale lemon, the owl and 
tree branches are the natural surface of the card. These cards are about 18 by 25 
inches. Price, $1.50 each. 








BAKER’S SHOW CARD BOOK 


13 


BROADWAY 

PLUG CUT 

A COOL FRAGRANT 
SATISFYING SMOKE 


PUT UP IN HANDY 
I1IP POCKET TINS 

m 


PLATE 8 



OWL 


PRESCRIPTIONS 

Alcoays Reliable 
frompt Service 
Never Closed 


PLATE 9 












14 


BAKER’S SHOW CARD BOOK 


Spur Poster 

This is an excellent letter for display work. It is very much like Plain Poster dif¬ 
fering only in the block spurs, which give it a more finished appearance. It is best 
used in all upper case for display but upper and lower case may be used with good 
effect. You will find examples of upper and lower case lettering in Plates 82 and 84. 

Cutout letters are used as a novelty in the more expensive cards. Each letter 
being cut out individually from very heavy mat board and glued on the card. This 
is very effective and well worth the effort when time is no object. Poster Block is 
especially good for this style of work. 

To illustrate this class of work I will call your attention to Plate 12. Plate 11 was 
done on mottled tan card with a cut out panel of dark brown outlined with a darker 
brown. The word FALL was lettered in yellow with air brush shading of red, giving 
it the color of autumn leaves. Decorations and small lettering were done in tan, brick 
red and dark brown. 

Plate 12. Mottled tan card with panel of soft mottled brown, the small light panel 
is painted on in gold. The letters of the word FALL were cut out of very heavy, 
brown mat board and glued on. The small lettering is in white and the decorations 
in tan, brick red and outlined with dark brown. 








BAKER’S SHOW CARD BOOK 


15 
















16 


BAKER’S SHOW CARD BOOK 


Decorative Italic 

This is a very pretty and popular letter especially for secondary lettering of long 
inscriptions. It is very fast and easily read. It is seldom used for display and never 
use all upper case letters as they are too ornate. This letter looks especially well when 
used with some heavy plain letter such as Plain Poster or Spur Gothic. 

Rough Roman Poster 1 

Rough Roman Poster, so-called because of the rough edges, is derived from heavy 
Roman. It is especially adapted for the large poster type of card and is much more 
effective when used very large. It is equally good for display in either upper or upper 
and lower case letters. 

Antique Roman 

This alphabet is very attractive for display, using all upper case letters. It may 
be extended considerably, which is sometimes necessary for good composition. A 
very good secondary letter to use with this alphabet, is Show Card Italic. This is espe¬ 
cially true in cases where the inscription is a long one. 







BAKER’S SHOW CARD BOOK 




iSfflisli and 
Conservative 
models 


PLATE 11 


PLATE 12 














18 


BAKER’S SHOW CARD BOOK 



opqrstuv w 


PLATE 13 


DECORATIVE ITALIC 






BAKER’S SHOW CARD BOOK 


19 


ABCDEFGHIJ 

KLMNOPQR 

STUVWXYZ 

abcdefghijklm 

nopqrstuwxyz 

ROUGH ROMAN POSTER 






20 


BAKER’S SHOW CARD BOOK 


Spur Gothic 

Spur Gothic is very useful and popular with most show card writers as a strong 
display letter. It is very fast for a spur letter and should be used for display only. 

Show Card Italic is a very good secondary letter for use with this alphabet. 

Show Card Text 

Show Card Text is a speedy natural brush or stub pen letter. It somewhat resem¬ 
bles Old English, and is used mostly for small lettering. It may be used for display 
but never in all upper case letters. When used for display they look best in a fairly 
large letter. 

Heavy Script 

Heavy Script is very desirable for many cards, it should be used for display only. 
A little experience will demonstrate the ease and speed with which this alphabet may 
be executed. When this letter is used for display the secondary lettering should be 
some straight letter. 







BAKER’S SHOW CARD BOOK 


21 


ABCDEFGH 
IJKIMINOPQ 
RST U VWXYZ 

abcdefghijKlmno 

pqrstuvwAYz6 

123456780 

PLATE 15 

ANTIQUE ROMAN 







22 


BAKER’S SHOW CARD BOOK 



HIJKLMN 



PLATE 16 


SPUR GOTHIC 






BAKER’S SHOW CARD BOOK 


23 


momrmj 

WOmOPQRS 

OVOJXYZ& 

abcde fqh ijkltrmopn rst 

uviuxqz 


PLATE 17 

SHOW CARD TEXT 






24 


BAKER’S SHOW CARD BOOK 


The card illustrated in Plate 18 was done on a black card with Rough Roman 
Poster for display and Decorative Roman for small lettering, both done in tan. The 
decorative head was traced from a poster. The face and light spots which form the 
beard are a rich light brown. All light stripes and lines in turban are tan, the same as 
the lettering. The dark stripes in the turban and streamers are a dark brick red. 

This is a beautiful and appropriate color scheme for this type of card, very strong 
and effective. 

Show Card Text is used for display in Plate 19, with Decorative Roman for small 
lettering. The card is dark green, the display lettering done in gold. The holly wreath 
in light green with red berries. Small lettering in white, underlining in light green. 
This makes a very pretty Christmas Card, Show Card Text being very appropriate 
for this time of year. 









BAKER’S SHOW CARD BOOK 


25 



PLATE 18 PLATE 19 







26 


BAKER’S SHOW CARD BOOK 


Full Block 

A very good all around letter, either for display or secondary lettering. With a 
little experience the student will find that for a finished letter it can be quickly exe¬ 
cuted. 

This letter, like all others, may be extended or condensed to suit the taste of the 
card writer. It sometimes happens that a display word or line may be a little too 
long to be used on one line; when the letter used is of full width it is then necessary 
to condense the letters, this however should not be overdone or the line will look 
crowded. In case the line be too short an extended letter will often give the line a 
better appearance. 

Gothic 

This alphabet together with the Show Card Italic are the most commonly used of 
all alphabets, because of their legibility and the speed with which they may be exe¬ 
cuted. They are not suitable for fancy cards but should be used almost entirely for 
low priced cards. 








BAKER’S SHOW CARD BOOK 


27 





ABCDEFGHIJKLMNO 

PQRSTUVWXYZ& 

abed efghijklmnopqrstuvwxLjz :* 

FUL^ BLOCK 

ABCDEFGHIJKLMNOPQRSTUV 

WXYZ & abcdefghijklmnopqrstuvwxyz 








28 


BAKER’S SHOW CARD BOOK 


Old English 

Old English may be made with either brush or pen. It is primarily a pen letter 
and is used mostly for small lettering. It is done with a stub pen. 

It is, however, very effective in large letters for display, always using upper and 
lower case letters. 

Old English should not be used with other style letters. It is more readable and 
looks much better when by itself. 

Engrossing Text 

Engrossing Text is a speedy pen letter for small lettering such as is used on 
jewelry and stationery cards. It is made with a stub pen. 

Pen Italic 

This alphabet, like the Engrossing Text, is usually used for small card lettering. 
It is quickly made and is easily read. 

Show Card Numerals 

Numerals play a very important part in the advertising value of the card and for 
this reason should always be plain, easily read figures. I have shown several styles, 
all practical and quickly executed. 








BAKER’S SHOW CARD BOOK 


29 


C> 



i 


fflld 



XB.2 a b c fi cfa li U k him a p g r s t ub lox y 2 Sr 


OLD ENGLISH 



PEN ITALIC 


PLATE 21 













30 


BAKER’S SHOW CARD BOOK 



PLATE 22 


Show Card Brushes 

The brush is the Show Card Writer’s most important tool and should therefore 
be of the very best. I recommend the Red Sable Brushes. They are the only practical 
brush for show card or any water color work. 









































































BAKER’S SHOW CARD BOOK 


31 


While they are more expensive at first cost they will outlast any other kind and 
give perfect satisfaction. They are made in the following sizes, i, 2, 3, 4, 5, 6, 7, 8, 9, 
10, 11, 12, 14, 16, 18, 20, 22 and 24. Plate 22 shows the exact size and style of each. 

Proper care will double and treble the life of the brush, which means a big saving 
as well as the pleasure of using a brush always in condition. 

They should always be thoroughly cleansed after using by rinsing in clean water 
and stood on end with the bristles up, in a jar or receptacle for that purpose. Never 
allow color to dry in the brush, the glue in the color causes the hairs to stiffen and 
become brittle and in a short time they will break off at the ferrule. 

Show Card Pens 

There are several kinds of pens made for show card work but only a few that are 
practical. They are used for small work entirely and unless the lettering be very small 
most card writers prefer to use the brush. 

The Hunt or Soennecken Round Writing Pen is a type of stub pen. It is easy to 
handle and is very useful for certain styles of alphabets. The Engrossing Text and 
Pen Italic alphabets illustrated in this book were made with a Hunt pen. Show Card 
Text, Old English and almost any script alphabet can be made with this pen. 









32 


BAKER’S SHOW CARD BOOK 



It is made in eleven sizes. In Plate 23 are shown the five largest sizes which I 
have found are the most practical. These are actual size. 

The Solid Marking Pen, though an entirely different style, is used for the same 
styles of lettering as the Hunt’s or Soennecken pen. It is a wider pen and therefore 
may be used for larger lettering. It is a reservoir style pen and is filled with a brush 
dipped in ink and passed through the opening of the pen. This means a saving of time 
as it will execute several letters with one filling. 

It is necessary when using either of these pens that the whole of the pen point 
rests squarely on the card to avoid ragged lines. 

The heavy strokes are made with a downward sweep as in writing. The light 
stroke is made with an upward or downward sweep. The width of the line will de¬ 
pend on the angle at which the pen is held. 





BAKER’S SHOW CARD BOOK 


33 



ABCDEFHIp 




The Solid Marking Pen is illustrated in Plate 24, showing the pen at the finish of 
the heavy stroke and in position to make the light stroke with an upward sweep. 

The Speedball Pen is a recent invention and one that promises to be popular. It 
is a very speedy lettering pen that can be mastered with a little practice. It is made 
in several sizes and there are two styles; the Square Bill—“Style A,” and the Round 
Bill—“Style B.” The Square Bill is used for the square finished style of letter and the 
Round Bill for the rounded edge letters. The pens and styles of lettering that can be 
made with these pens are shown in Plate 25. 

To fill simply dip in ink like ordinary pen, shake or wipe surplus drop off on 
edge of bottle. The flat, bent up section of the tip is the marking surface and should 
rest evenly on the card and can be moved in any direction. Makes up, down, sideways 
or oval strokes of even width throughout without changing normal writing position 
of holding pen, which is no larger than the ordinary pen, and fits any standard size 
holder. 

India ink should be used for any of the above pens. 













34 


BAKER’S SHOW CARD BOOK 


Preparation 

The student should first provide himself with a few necessary articles and tools, 
namely, a table or desk, the top of which is slightly tilted and having one side and 
lower edge squared for the use of a T square, and high enough so that one may work 
in a standing position. A medium pencil or a stick of French charcoal, pencil pre¬ 
ferred, for ordinary white cardboard, an art gum eraser, two or three red sable 
brushes, a palette (which may be a piece of window glass), a bottle of color, some 
show card board or any smooth card or paper, and a glass of water. Having obtained 
these he will be ready for work. A bridge will also be necessary if the bridge method 
is used. 

Bridge 

The bridge is made of a strip of wood i inch thick and about 3 inches wide, and 
long enough to span the average card, or about 3 feet. On each end is tacked a block 
1 inch thick, making the bridge 2 inches high. 

The object of the bridge is to steady the hand and at the same time keep the hand 
off the surface of the card. It is also very useful in working over wet lettering. The 
bridge however is not a necessity, many card writers prefer to rest the hand on the 
surface of the card as it allows more freedom. 






BAKER’S SHOW CARD BOOK 


35 


Brush Practice 

Hard work and plenty of practice is necessary to master the brush—don’t be dis¬ 
couraged with your first results. Remember the old adage, “If at first you don’t suc¬ 
ceed, try again,” and I might add, again and again. Mastery of the brush is like 
many other things we have mastered; it seems very hard at first attempt but with prac¬ 
tice will come confidence, and in a short time you will be surprised at the results. 

Before beginning practice with the brush it will be well to bear in mind the fol¬ 
lowing rules: 

The brush should be held between the thumb and forefinger firmly but lightly; 
not too rigid as it is necessary that the handle of the brush roll slightly between the 
fingers when executing a curve. Do not cramp the hand in the execution of any stroke, 
freedom of action is absolutely necessary in the formation of graceful letters. Main¬ 
tain a uniform pressure on the brush except where a swell or shaded stroke is desired. 
In this case, place the edge of the brush to the surface, start and increase the pressure 
until the desired width is obtained, then gradually decrease the pressure until the stroke 
comes to a point. 

Each stroke should be made with a steady, continuous stroke; do not allow the 
movement to be jerky. Begin slowly and increase your speed as you gain confidence. 
The more rapid the stroke the better the results. 







36 


BAKER’S SHOW CARD BOOK 


Be careful that your brush is in proper condition before applying to the card; 
after charging with color work it back and forth on the palette, ending by gently 
drawing it toward you. This will give it the desired edge, which should be flat. Keep 
your brush well charged so that you will be able to execute each stroke without stop¬ 
ping for color. 

The color should be of the right consistency. If it is too thin the brush will be 
hard to control and the color will not cover well. If too thick it will pull and will not 
spread uniformly. 

In Plate 26 are shown the brush strokes necessary in the formation of any letter 
or scroll. They are the foundation of brush lettering. In this, as in any other busi¬ 
ness, it is necessary to have a firm foundation. This can be accomplished only by 
hard, conscientious practice. Do not attempt lettering until you have fully mastered 
these strokes. If you will do this you will find that the formation of the letters will 
be a simple matter. 

Begin by practicing the vertical stroke first. Place the hand on the bridge or 
surface of the card, so that it will rest or slide on the little finger, as in writing, and 
with the flat of the brush to the surface of the card, (see Plate 27), draw the fingers 
back until the brush is perpendicular (see Plate 28), thus ending with a square edge. 








BAKER’S SHOW CARD BOOK 


37 


SINGLE DOUBLE 

STROKE STROKE 



PLATE 26 






38 


BAKER’S SHOW CARD BOOK 


For the ordinary size letter, this is a finger movement only. In executing the 
larger letters it will be necessary to slide the hand as well as drawing in the fingers. 

To make the horizontal strokes, turn the hand a little to the right so that the 
flat of the brush rests squarely on the paper, and with a sliding and turning move¬ 
ment of the wrist complete the stroke with the handle of the brush in a perpendicular 
position. 

The slanted strokes are made in the same manner as the vertical strokes. 

The curved strokes require the finger and sliding movement, allowing the brush 
to roll slightly between the fingers. 

In making the vertical stroke with the curved finish, draw in the fingers as in the 
vertical stroke until the point is reached where the curve is desired, then without re¬ 
moving the brush, make the curve with a short upward sweep of the fingers, ending 
with the brush on the edge. 

The swell or shaded stroke is made by placing the edge or point of the brush to 
the surface of the card, gradually increasing the pressure until the desired width of 
line is obtained, then gradually decrease the pressure until the stroke comes to a point. 
This stroke is made with a sweeping motion. 







BAKER’S SHOW CARD BOOK 


39 



PLATE 27 PLATE 28 


While show card lettering is distinctly a one stroke letter, it is necessary at times, 
owing to the size of the letters, to use the double stroke method. 

The strokes of this method are practically the same as the single strokes, with the 
exception that attention is paid only to the outer edge of the stroke, being careful to 
make a clean, sharp edge. A large brush should be used for this so that there will 
be little or no filling in. 






40 


BAKER’S SHOW CARD BOOK 


Formation of Letters 

Lay out the letters with a soft pencil, being careful to make a very light line so 
that any necessary erasing may be easily done. I would advise the student to use 
as little pencil work as possible, gradually decreasing the amount until the letters 
are merely indicated, so as to give an idea of shape, size and spacing desired. This 
will give you more freedom with your brush, which means a more graceful easy let¬ 
ter. If the letters be drawn out too precisely it is apt to cause cramping of the hand 
in order to follow the carefully penciled lines. 

In Plate 29 I have illustrated the order in which the strokes are made. This is 
done by using different shades as shown in key at the bottom of the plate. The first 
stroke being made with the light shade, the second with a shade a little darker, the 
third still darker, the fourth or last stroke necessary is solid black. 

The order in which these strokes are made is true of all alphabets except those of 
the script style. Of course there are the added spur strokes which I will illustrate later, 
but these strokes form the body of the letter, the spurs being only a matter of finish. 

The strokes of the script style are made much the same as in writing, eliminating 
some of the up strokes which can not be made with the brush. 







BAKER’S SHOW CARD BOOK 


41 












42 


BAKER’S SHOW CARD BOOK 


After you have practiced the brush strokes and are able to make a bold, free 
stroke, begin practice of lettering by copying stroke for stroke the letters shown in 
Plate 29. Do this until you are able to make a fairly good letter. You will find that 
by constantly making the strokes in the order given it will become a matter of habit. 

There is a reason for the order of strokes that you will understand more fully 
when studying spacing. For instance, the letter M if made in the manner in which 
the strokes come naturally it would be hard to gauge the proper slant of the strokes 
forming the V, while if the left and right vertical strokes are made first it will be easy 
to center the bottom of the V, thus giving the proper slant to these strokes which 
mean so much to the appearance of this letter. This also applies to the letters N, W, 
and Y. 

In practicing the letters let me impress upon you the necessity of freedom of 
motion. Never for any reason cramp your hand. Perhaps in the beginning you might 
make a better letter by so doing but eventually your speed and grace of letters would 
suffer materially. The spurs being the finish or trim of the letters should be executed 
last. The different spurs and the strokes necessary are shown in Plate 30, by the 
same method of different shaded strokes. This plate should also receive the same care¬ 
ful study and conscientious practice. 







BAKER’S SHOW CARD BOOK 


43 



PLATE 30 


Spacing 

Spacing of letters is the key note of a good line of Letters. It is the general sup¬ 
position that all letters require the same space; such is not the case. Letters should 
be so spaced as to equalize the blank space between and about the letters. Thus keep¬ 
ing the line uniform in color. 

The letters C, G, O and Q are known as round letters and owing to the blank space 
in the center of the letter and to the fact that there are no corners they should be 
spaced more closely than the full spaced letters such as B, D, E, H, K, M, N, R, S, U, 
X and Z. 






44 


BAKER’S SHOW CARD BOOK 


The letters A, F, L, J, P, T, V and W having so much open space about them 
should be spaced close. It is necessary to shorten the horizontal stroke of the L and 
the curved stroke of the J in order to equalize the blank space. Letters may be spaced 
either compact or spread according to the idea of the letterer but must be spaced 
uniformly. 

There is perhaps more liberty taken in show card lettering, especially in the spac¬ 
ing, than in any other branch of lettering. This freak spacing is often very effective 
where good judgment is used. There are examples of freak spacing in several of the 
illustrated cards. 

I have illustrated clearly in Plate 31 why letters should not be given equal space. 
The word LAD is first lettered with each letter occupying the same amount of space 
and having the same space between the letters. It is then lettered so as to equalize 
as nearly as possible the blank space between and about the letters. To do this it was 
necessary to shorten the horizontal stroke of the L, and to leave less space between 
the L and the A. 

There are many similar instances in other combinations of letters which may be 
easily overcome if you will bear in mind the necessity of keeping the blank spaces in 
and about the letters as nearly equal as possible. 

















BAKER’S SHOW CARD BOOK 


45 



Composition 

The composition of the card is one of the most important features of card writ¬ 
ing, careful attention and study should be given to this feature. 

By composition is meant the placing of lettering, pictures, etc., on the card so that 
when completed the card will have the appearance of balance. This does not mean 
that the lettering must always be in the center of the card. 










































































46 


BAKER’S SHOW CARD BOOK 


There are many illustrations in this book where the lettering is placed to one 
side and is balanced or appears to be balanced by some picture, design or other letter¬ 
ing properly placed. 

Good composition with fair lettering will look much better than good lettering and 
poor composition. 

The card illustrations in this book are excellent examples of composition both as 
to lettering and placing of pictorial designs. Study them, imitate them and you will 
find that it will help you to an understanding of good composition and enable you to 
originate and properly express your own ideas. 

There is no better way of learning composition than to have plenty of good com¬ 
positions about you. It will keep you from falling into the many bad habits that are 
so noticeable in the student’s work. For instance, crowding of the inscription, or 
sprawling it all over the card, too much decoration, slight if any variation in the size 
of lettering, etc. 

Laying Out Card 

In laying out the card bear in mind the importance of the display word or lines, as 
the case may be. For this word or line choose some strong, bold style. If there be 
a sub line this should be executed in a smaller and preferably a plain letter. For the 
balance of the lettering if it is of minor importance use a small letter with upper and 
lower case. 






BAKER’S SHOW CARD BOOK 


47 


It is not always necessary to use a heavj' letter for display—a light letter if made 
large enough to give the line prominence is just as effective and often preferable, de¬ 
pending on the class of card. If a light letter is used the secondary lettering should 
be still lighter. 

Never crowd the inscription on a card—leave plenty of blank space about the 
wording so that each part of the inscription may be easily read. Parts of the inscrip¬ 
tion may be bunched with good effect as you will note in some of the illustrations. 

If the inscription be a long one it is advisable to break the monotony by using 
both straight and slanted letters, especially so if no decorations are used. 

As I have said before, there should be plenty of blank space about the wording, but 
be careful that the space between the lines is not too evenly distributed, as this would 
make the inscription hard to read. 

To illustrate these points I have shown in Plate 32 two cards with the same in¬ 
scription and style of lettering with the exception of the word HATS. The lettering 
and spacing is equally good but there is a vast difference in the appearance of the 
cards due entirely to the composition of the lettering. 

In card A the most glaring fault is that the lettering is spread all over the card 
and there is not enough difference in the size of the display and secondary lettering. 
Another fault is the space between the lines. The secondary lettering is crowded so 
close to the display line that it detracts from the strength of this, the most important 







48 


BAKER’S SHOW CARD BOOK 



CARD A PLATE 32 CARD B 


line of the inscription; the same is true of the price figures although not quite so 
much as there is no lettering to interfere below. One more point I wish to call your 
attention to is the fact that the display line is lettered in the same alphabet as the 
smaller lettering, which is poor taste and contributes to the sameness of the card. 








BAKER’S SHOW CARD BOOK 


49 


It is advisable when the secondary lettering is of a Gothic style to use some Roman 
style for display. This is the only change in card B, with the exception of the size 
of the lettering. The most important part of this inscription is HATS $2.00, and in 
this card it is brought out very strongly. The next important is that they are STRAW, 
to give this the prominence necessary and at the same time keep the letter small enough 
so as not to interfere with the display line I have given it added strength by under¬ 
lining. 

Shaded and Outlined Lettering 

Shading and outlining of lettering is used almost entirely for display lines. It not 
only adds to the strength of the line but also acts as a decoration. Shading is done 
almost entirely to the left and lower edge of the letters. The effects may be varied by 
using light or heavy shading and by the blank space left between the letter and the 
shading. This is also true of outlining, many examples of which are shown in the 
illustrations. 

Air* Brush 

The Air Brush is a small instrument that applies colors to the surface evenly by 
means of air pressure. The air blowing the liquid color from the point of the brush 
in a fine spray that is regulated by pressing and drawing back a small lever on the top 
of the brush. 






50 


BAKER’S SHOW CARD BOOK 


The brush is handled much the same as a pencil with the forefinger pressing the 
lever. It is not a difficult instrument to learn to handle, being only a matter of prac¬ 
tice. The Air Brush is illustrated in Plate 33. 



Air* Brush Shading 

Air brush shading is very effective and quickly done and for these reasons it is 
very popular among professional show card writers. The most common method em¬ 
ployed is that of shading the letter, which is done after the lettering is completed. 
Shade the left edge of the vertical strokes and the lower edge of the horizontal strokes. 
This is sometimes done on the letter which gives it the appearance of being a raised 
letter as in Plate 34. 










BAKER’S SHOW CARD BOOK 


51 



















52 


BAKER’S SHOW CARD BOOK 


For this plate a dark brown card was used with white lettering. The large let¬ 
tering and numerals were white air brushed with brown, a little darker shading being 
used on the numerals, which were afterward outlined with tan. The border is also 
done in tan. The figure, a newspaper clipping, was traced on and all the high lights 
or light parts were painted in white, the shadows are the natural surface of the 
card. This makes a very rich card and shows the most popular method of air brush 
shading. 

If the shading is done just off the letter, leaving some space between the shad¬ 
ing and the letter, it will give the effect of a shadow behind the letter. I would ad¬ 
vise this method of shading only on large lettering so that there will be plenty of space 
to give the proper effect. 

The air brush is used for other effects, such as tinting backgrounds, borders or 
other portions of cards. Cut out designs are sometimes used where there are a num¬ 
ber of similar cards to be made. For this method masks are used. The design is 
first drawn out in detail and then covered with frisket paper or some transparent 
paper that will not absorb water too quickly. The parts that are to be tinted are then 
cut out and when the design is entirely cut it is laid on the card and weighted with 
printer’s leads to keep the edges from curling up. It is then ready for tinting with the 
air brush. While, as I have said before, cut out designs are sometimes used they are 
very impracticable, owing to the time required to execute even the most simple de- 








BAKER’S SHOW CARD BOOK 


53 


























54 


BAKER’S SHOW CARD BOOK 


signs, and another very good reason why they should not be used is that they are 
too stiff for show card work, which should at all times have the appearance of quick, 
free hand work. 

Spatter Work 

Spatter work is sometimes used for backgrounds or for bringing out strongly 
some panel or odd shaped design. 

It is done by applying a little color of the consistency of ink on a tooth brush. 
The brush is then held about three inches from the surface of the card in a vertical posi¬ 
tion and the blade of a knife or stiff wire is then drawn upward over the bristles of 
the brush, causing a spatter. 

For designs or panels it is necessary to cut masks as for air brush work. 

In Plates 35 and 36 I have shown examples of this class of work. In Plate 35 a 
mask was cut and the spatter work completed first. The picture, a magazine clip¬ 
ping, was then pasted on and the lettering completed. The word OUTING was let¬ 
tered over the spatter work in red and outlined with white to give a touch of color. 
The line inside the panel was also done in red. The balance of the lettering in black. 

Plate 36 was handled in the same manner, the spatter work being done first, the 
trees and snow were painted over the spatter. The lettering was done in black and 
two shades of old rose, a dark shade being used for the large letters and a lighter 
shade for outlining and border. Both of these cards were done on white show card 
board. 









BAKER’S SHOW CARD BOOK 


55 






























56 


BAKER’S SHOW CARD BOOK 


Brush Decorations 

Simple and easily executed decorations are the most appropriate for show card 
work, both from the standpoint of time and artistic effect. 

In Plates 37 and 38 I have illustrated some brush decorations that are especially 
adapted to this work. They are very simple and easily executed, and when done in 
combinations of colors, have the appearance of very elaborate decorations. 

These decorations are not intended as set designs but rather as types or styles 
which may be used in various shapes and sizes. 

To illustrate I will call your attention to the decorations on many of the card illus¬ 
trations. You will find that many of them are similar in type to the decorations in 
these plates, but different in general formation. This will give you some idea of the 
variations that may be obtained with slight changes. 

Be careful in using decorations that you do not overdo this feature. This is very 
often done. Keep them simple. They must not in any way detract from the strength 
of the inscription. In most cases a little decoration goes a long way, however there 
are times when an elaborate decoration is very appropriate. 

Ribbon designs, as shown in Plate 38, are sometimes used on special cards and 
when properly used make very good decorations. Lettering is usually used in the 
large open spaces. 







BAKER’S SHOW CARD BOOK 


57 














58 


BAKER’S SHOW CARD BOOK 


Initial Letters 

Decorated initial letters are desirable at times to embellish an otherwise plain card, 
and when done in color combinations make attractive decorations. 

In Plate 39 are illustrated many varieties of decoration suitable for this purpose. 
The color schemes will depend on the color of the card used. 

Clippings 

Very attractive cards may be made by using suitable clippings pasted on the cards, 
and they are especially desirable in so much as they incur practically no expense. 

Every card writer should have a good up-to-date collection of clippings of all 
kinds, in black and white and color. These may be obtained by cutting out of maga¬ 
zines and newspapers, pictures of all descriptions that will in any way make suitable 
decorations for cards. For instance, Spring, Summer, Fall and Winter, styles of Men’s, 
Women’s and Children’s Clothes, Shoes, Millinery, etc. Animal pictures, for fur cards, 
border designs, pretty heads, in fact everything. 

These pictures may be used direct or traced and drawn with brush. A tasty de¬ 
sign worked around the clipping adds materially to the effect. Sometimes just an 
outline is attractive. 

Many clippings are used in the card illustrations in this book and they will give 
you some idea of the desirability of clippings. 






BAKER’S SHOW CARD BOOK 


59 
































60 


BAKER’S SHOW CARD BOOK 


Artificial Novelties 

Artificial novelties such as flowers, leaves, and plaster ornaments may be pur¬ 
chased in the shops for a trifle and glued or tied onto the card. Druggists and other 
merchants advertising small articles such as toothbrushes, perfumes, sponges, etc., 
often use the article itself as a decoration for the card by tying on in an attractive 
way. 

Ornaments were used on the card illustrated in Plate 40. The card, which is of 
light gray pebbled surface, has a beveled panel of the same material which is quite 
thick and shows to advantage the bevel cut. The top of the card is air brushed with 
light blue blending into the color of the card. 

The figure is a colored fashion clipping pasted flat up to the waist and then 
allowed to bend over the horseshoe and pasted again at the top thus causing the horse¬ 
shoe, which is of plaster of paris, to appear to encircle the figure. The horse head is 
also of plaster and both are glued on. The ribbons are blue. The small lettering, 
border lines, the outlining and fine lines under the figure were done in light shade 
of old blue. 

The large lettering in dark blue broken and outlined with the light shade of blue. 
Size, 14x36. Price, $2.50. 

Plate 41. White pebbled board with grayish blue panel. Lettering white. The 
oval, figure, and word “SUITS” outlined with lavender. 

Picture is a colored clipping. The inside of the oval is slightly air brushed with 
blue. Size, 16x26. Price, $1.75. 







BAKER’S SHOW CARD BOOK 


61 
























































62 


BAKER’S SHOW CARD BOOK 


Plate 42. A pretty shade of yellow pebbled board with panel of lighter shade. 
The word “MODELS” is outlined with a deep shade of yellow and broken with the 
same color. High lights of cream on the top and left edges of the letters. Small let¬ 
tering, scrolls and outlines of picture in deep yellow. Roses in cream. The picture a 
colored clipping. Black velvet ribbon put on with a touch of glue in spots, just 
enough to hold without causing it to look stiff and flat. Border in cream. These are 
all beautiful cards and with the exception of cutting and gluing on the panels were 
quickly and easily made. Size, 16x28. Price, $2.00. 

Air Pencil 

Very pretty effects may be obtained by the use of the Air Pencil. It is a cheap 
tool and easy to handle. It consists of a rubber bulb and a metal nozzle which screws 
into the bulb. See Plate 43. 

The bulb is filled with a mixture of whiting and glue which must be of the proper 
consistency, not too thin nor too thick; if too thin it will not stand up well and will be 
too long drying; if too thick it will not flow freely. It should be just thin enough to 
flow from the nozzle. 

After the design or lettering is laid out in pencil fill the bulb with mixture and 
apply by holding the air pencil in the right hand as you would a brush, keeping a 
steady pressure on the bulb with the fingers of the left hand to regulate the flow. 
Follow your pencil lines as if using a brush. 







BAKER’S SHOW CARD BOOK 


63 



After the design or lettering is completed, it may be decorated with gold or other 
colored bronzes. The bronze should be applied before the composition dries by shak¬ 
ing the dust over the wet composition and allowing it to dry; when it is thoroughly 
dry, dust off the superfluous bronze. If the bronze does not adhere well it is be¬ 
cause there is not enough glue in the mixture. If the lettering be completed this can 
be remedied by covering the lettering with a thin coat of glue. 

I have illustrated in Plates 44 and 45 two styles of lettering done with the air 
pencil. 

The word OPENING in Plate 44 was first lettered with the air pencil and then 
gone over with a brush using dark green color. While this takes a little more time 
it is not quite so common as the bronze. The work is done on a light green card, the 









64 


BAKER’S SHOW CARD BOOK 


small lettering is done in white and outlined or shaded with dark green. The deco¬ 
rations were made in white, gold and dark green. You will note that the air pencil 
lettering on this card is done with a little more freedom, giving a different effect 
from that in Plate 45. This lettering was gone over but once with the air pencil. 
Size, 18x30. Price, $2.00. 

In Plate 45 the word HATS is lettered with a very heavy coating; to do this, 
it is necessary to go over it several times until it is the desired thickness. This is nec¬ 
essary where large lettering is used, to get the proper effect. In this instance the let¬ 
tering was done on a light gray card and dusted with gold bronze. The smaller let¬ 
tering is brush work on a darker shade of gray. The decorations and outlining are 
done in dark red, white and gold. 

The Pantagraph 

Many card writers have considerable drawing ability and do some free hand draw¬ 
ing on the cards. For those who are not so gifted the Pantagraph is an excellent arti¬ 
cle to have. It is easily handled and inexpensive. This instrument, which is illustrated 
in Plate 46, is used for enlarging and reducing pictures. It is so regulated that pic¬ 
tures may be enlarged from one-eighth to seven or eight times the original size or, 
by changing the position of the pencil and tracer point it will reduce in the same 
proportion. 






BAKER’S SHOW CARD BOOK 


65 

















66 


BAKER’S SHOW CARD BOOK 



PLATE 46 


If the picture is to be enlarged it is placed at the left and the card to the right, 
the tracer is then drawn over the outlines of the picture, being steadied with the left 
hand while the right hand guides and furnishes the pressure on the pencil point. 

The placing of the picture in the proper position on the card is regulated by plac¬ 
ing the pencil point at the desired location and moving the original copy until it fits 
under the tracer. 














BAKER’S SHOW CARD BOOK 


67 



PLATE 47 


To reduce, reverse the tracer and pencil and also the position of the picture and 
card. 

Circles and Ovals 

Circles or Ovals are often used in card work and when properly executed are 
very effective. If they are carelessly done no amount of good lettering would offset 
the poor effect. 

To execute a true circle with a brush, place a thumb tack or a stout pin in what 
is to be the center of the circle. Then take a string, make a loop at each end, place 
one loop over the tack and through the other pass the brush, which should be filled 
with enough color to complete the circle. Hold the string taut with the brush in an 
upright position, spread the brush to the desired width of line and while keeping the 
brush perfectly still and the fingers of the right hand resting very lightly on the card, 
turn the card to the left until the circle is completed.. Plate 47 shows the position of 
the hand and brush. This position is to be held while the card is being turned. 










68 


BAKER’S SHOW CARD BOOK 




Ovals 


To make an oval of any size draw a line the desired length through what is to 
be the center of the oval, as shown in Plate 48, and represented by A-B. Through the 
center of this line draw a line the desired width represented by C-D. Then take the 
distance from A to E, place one point at D, and where the other point touches the 



















BAKER’S SHOW CARD BOOK 


69 


line A-B you have the point indicated by F. This repeated below the center line will 
give the point G. At these two points place a thumb tack or stout pin, also place a 
pin at D. Take a string, make a slip knot and pass the loop around all three pins, 
tighten the loop so that the string is taut, also tighten the knot so that the loop will 
not slip; take out the pin at D and place a pencil at this point, holding the string taut; 
place the string about a quarter of an inch up from the point of the pencil. The 
pencil will then slide inside the loop; hold the pencil in an upright position and draw 
it around, completing the oval as illustrated in Plate 49. 

Cut Outs 

Where there are a number of cards to be made bearing the same inscription it 
will facilitate the work of the card writer to use cut outs as shown in Plate 50. These 
are made by first lettering a complete card as a sample, then make a tracing of the 
limits of the letters, or, in other words, block out the lines of lettering both as to 
height and width, retrace on cardboard and cut out. 

Use this cut out as a pattern for all cards by placing over cardboard and tracing 
with pencil the limits of the cut out spaces. 

This will mean a big saving of time and the cards will have the same spacing. 









70 


BAKER’S SHOW CARD BOOK 



PLATE 50 

Show Card Colors 

Ready mixed colors are the most satisfactory for show card work. They are 
ready for instant use and while they are a trifle more expensive than the dry or dis¬ 
temper colors they will give much better satisfaction and save the trouble and expen¬ 
sive experience that is necessary to properly prepare and mix the old fashioned kind. 


































BAKER’S SHOW CARD BOOK 


71 


They are made in various colors as described in my catalog of materials. The 
colors listed are the best obtainable. 

Variations of these colors may be made by mixing two or more colors. For in¬ 
stance, a pretty shade of old blue can be made by mixing a little black and white with 
blue. Start in by mixing just a little of each with the blue and add which ever is 
needed until the desired shade is obtained. 

Slightly deadened colors are very soft and pleasing and much in vogue at pres¬ 
ent, and for that matter always will be. 

To deaden a color, mix with it a little black and white, and sometimes a little 
red or brown if you wish to add a little warmth to the color. For instance, gray is 
made from black and white, but if just these two colors are used it will be a cold gray; 
to warm, add a little brown or red. With a little experience you will be able to make 
hundreds of different shades of the various colors. 

Show Card Inks 

Colored Inks are best for the Pen and Air Brush, especially the Air Brush, as it 
is necessary for the color to be very thin and free from all lumps, grit and dirt to flow 
freely through the brush. 

The best of inks are none too good. You will find a list of especially prepared inks 
for this purpose in the catalog. 







72 


BAKER’S SHOW CARD BOOK 


Show Card Board 

The regular white Show Card Board is a cheaper grade of Bristol Board and is 
22x28 inches. It is smooth finished and varies in thickness. The heavier quality is 
best, if too thin it will buckle and all cards should be heavy enough to stand well. 

The average card work is the cheap or plain cards and they are usually made in 
what are known as stock sizes—this is done to save waste in cutting as well as to regu¬ 
late to some extent the price. 

To cut the stock sizes without waste cut the full sheet in half, which will give two 
cards 14x22, or the half sheet size. Cut these in half for the quarter sheet sizes, which 
should be 11x14; cut these in half for eighth sheet, or 7x11. 

There are exceptions to all rules and at times odd sizes are preferable. However 
the strips or pieces left need not be wasted, as they will cut into small cards for price 
tickets. 

Be careful of card board or any other sign board, for next to labor this is the 
biggest item of expense. 

Matt Boards 

Matt Boards are used for fancy or the better class of cards, either for the entire 
card or for frame or panel effects. It may be had in all colors and in several different 
surfaces. They may be obtained at any wholesale paper house, picture framing or 
large stationery stores. 





BAKER’S SHOW CARD BOOK 


73 





















74 


BAKER’S SHOW CARD BOOK 


The card illustrations in Plates 51, 52 and 53 are good examples of matt board 
cards and effects. They were made of different shades and surfaced matt boards. 

Plate 51. Mottled tan board with panel of mottled brown. Lettering white. 
Decorations brick red, tan and dark brown. Figure clipping from fashion magazine 
outlined with dark brown. Size, 15x25. Price, $1.75. 

Plate 52. Gray pebbled board with white pebbled panel, air brushed slightly at 
the top with light blue. Lettering light and dark blue. Decorations copied from 
picture. Very light blue sky with gold sun. Water two shades of green and blue 
with white foam. The bird in light gray with touch of white on wings. Lettering 
outlined with gold. Decoration below lettering light green, outlining and scrolls in 
gold. Size, 13x34. Price, $2.50. 

Plate 53. Rough brown board with smooth darker brown panel. Pasted on this 
are two small panels. The first is of imitation leather paper pasted flat. The top or 
smaller panel is of brown paper torn with ragged edge on top and bottom. The 
ragged edges were touched with a little dark brown color and the little spots or edges 
that show white in the illustration are of gold. Lettering gold with white outline. 
Decoration was traced on from clipping and done in brown. Size, 15x25. Price, $2.00. 
These are three very choice cards and for fancy cards may be quickly executed. 

Fancy cards form a very important part in the decoration of a window and 
should be in keeping with the general color scheme of the window. 









BAKER’S SHOW CARD BOOK 


75 


The price cards should also be in harmony with the large or display cards. The 
same materials should be used, using panels if such be used on the large card. 

This special color scheme of cards is very much of an addition to the decorated 
window. 

Fancy' Papers 

Fancy papers, such as wall papers, especially the modern designs which include 
imitation leather, grass cloth, floral designs, stripes, etc., mounted on heavy board 
make very attractive cards. They may be obtained from wall paper dealers for a 
trifle. Some dealers will gladly give you their old samples. 

Wall paper pasted top and bottom on black show card board was used for the 
background of the card illustration in Plate 54. It is a cloud effect in very delicate 
sunset colorings. Owing to the difficulty of photographing color, the contrast 
shown in this plate is a little stronger than in the original. 

The pictorial decoration copied from a colored automobile ad. is in simple flat 
colors. The body of the auto is light purple, wheels white, wall cream, trees three 
shades of green, from light yellowish green to dark bluish green. The strip in back 
of auto light yellow. Shadows and figures in auto were left the natural black of the 
card. Lettering black with white outline. 









76 


BAKER’S SHOW CARD BOOK 


This is a type of the latest poster cards and is very strong and effective. Size, 
22x28. Price, $3.00. 

Diamond Dust 

Diamond dust, so-called because it resembles very much the genuine article, 
with the exception that it consists of tiny flakes instead of dust or powder. It is 
used for the decorating of lettering or parts of holiday or winter cards to give a snow 
or ice effect. It is especially effective at night, as the artifical lights cause the tiny 
flakes to sparkle and glisten like tiny diamonds. 

Diamond dust is applied after the lettering or design is completed. Touch up 
the spots that are to be covered with diamond dust with white mucilage and before 
the mucilage has had time to dry pour on enough of the dust to completely cover 
and allow to dry thoroughly, after which dust or shake off the surplus flakes. 

Use a white mucilage for this work as the darker colored kinds will affect the 
color of the dust, which to be at its best should be pure white. 

Diamond dust should always be applied to a white surface; never attempt to use 
it over a black or other colored letter or design, first cover the parts with white. 
For instance, if the letter is green and a snow covered top is desired, it will be nec¬ 
essary to first cover the parts to be decorated with white, then with glue or mucilage. 









BAKER’S SHOW CARD BOOK 


77 
















78 


BAKER’S SHOW CARD BOOK 


It is impossible to reproduce the sparkling effect in the printed illustration, but 
I wish to call your attention to the cards in Plates 55, 56 and 57. 

These cards have all been decorated with diamond dust. They were made on 
green cards and with white panels slightly tinted with green, just enough to make 
the snow effect stand out plainly—this was done with the air brush. Red display 
lines and white, small lettering. Pictorial decoration a colored clipping. All white 
decorations covered with diamond dust. Holly leaves green and red. Size, 16x32 in. 
Price, $2.00. 

Flitter 

Flitter is a flaky tinsel, much like diamond dust, and is applied in the same 
manner. It is made in several colors; gold, silver, green and red. Like the diamond 
dust it is much more effective at night, and is especially appropriate for the holiday 
season. 

Bronze 

Prepared bronze or gold and silver colors are in the market now, and are much 
superior to the old method of mixing the dry colors. 

The bronze powders are used for the air pencil work and may be had in several 
shades. 







BAKER’S SHOW CARD BOOK 


79 













80 


BAKER’S SHOW CARD BOOK 


Price Cards 

Price cards may be divided into two classes. The ordinary plain card for sales 
or cheap articles of merchandise, which are usually good sized cards with the large 
numerals, and the small, neat special card for the decorated windows. Both are 
proper in their place. The small card would be lost in a window filled with kitchen 
utensils, and it would be exceptionally poor taste to have large, cheap looking cards 
in a daintily decorated window. 

The ordinary price card may be of any size, depending on the class of goods, 
the article and condition under which it is being sold. For instance, if it were an 
annual clearance sale the cards are usually very large, to attract attention not only to 
the price but to the sale. 

The small card, as I have said before, should be in keeping with its surroundings, 
and of a size that will look well without being conspicuous. 

The price cards illustrated in Plates 58 and 59 are about one-third the original 
size. They are all neat, simple cards and well worth the labor necessary to execute 
them, when one considers the added attraction to the window. 

The cards in Plate 58 are all combinations of gray, white and black. They will 
look equally well in other colors that will harmonize with the window. 







BAKER’S SHOW CARD BOOK 


81 










































82 


BAKER’S SHOW CARD BOOK 


The cards in Plate 59 are made of different colored matt boards. The combina¬ 
tion of colors is in itself attractive, and with a little lettering well placed, are doubly so. 

Never use more than two or three words on a price card, and they should be much 
smaller than the numerals. It is much better in most cases to use the numerals only. 

Owing to the straight lines these cards are all easily and quickly made. When 
you have made a few ovals you will find that they are not much trouble. I would ad¬ 
vise that each time you make an oval make one extra, cut it out and use in future for 
patterns. In a short time you will have quite a collection, and it will seldom be 
necessary to figure out new sizes. 

A little decoration is permissible on price cards, but a little goes a long way. Note 
that in most of the cards illustrated just a line is used and it gives it a very neat 
appearance with very little work. 

Seasonable Suggestions 

Different seasons of the year, the many holidays and special local days, all sug¬ 
gest cards that are indicative of the particular season or day. For instance, Christ¬ 
mas season or the winter months would suggest such decorations as snow, ice, 
holly, evergreens, Santa Claus pictures, etc., and the colors green, red, white and gold 
predominate at this season. 







BAKER’S SHOW CARD BOOK 


83 
























84 


BAKER’S SHOW CARD BOOK 


The spring months remind us of the early flowers and delicate colors are thus 
suggested. Easter lilies are especially appropriate at this time, owing to the Easter 
holidays. 

Decorations for summer are so numerous that you will find no trouble in decid¬ 
ing. It is the season of most all the flowers, many of the sports, vacation days, and 
several of the national holidays. 

Care should be used in the selection of colors for the summer months. The many 
different shades of green, blue, gray, lavender and the light tints of yellow and pink 
are all cool looking colors, and are most attractive and appropriate. Gold used with 
any of these colors is very good. 

Autumn colors and decorations are suggested by the falling leaves. The variety 
of color at this time is wonderful. The many shades of red, yellow, orange, purple, 
lavender and blue, as well as the warm shades of green. Gold is always good for any 
season, but should be used with good taste—it can be easily overdone. 

Color Combinations 

Color combinations are to a certain extent a matter of taste, however, there are 
certain combinations that are generally accepted as good taste, some of which I will 
describe. In addition to the combinations mentioned below the descriptions of the 
numerous cards will give added information on this subject. 







BAKER’S SHOW CARD BOOK 


85 


Suitable color combinations for white cards: Black lettering, with initial let¬ 
ters, shading, underlining and other decorations of any one of the following colors, 
red, blue, green, orange, lavender, gray and tan. There are, of course, many shades 
of these colors and some will look better than others—this is where individual taste 
will be displayed. 

The following are good color combinations for white cards using three or more 
colors: Black, green and red; black, gray and blue; black, buff, gold and a little touch 
of red; lavender, purple and black; black, red and gray; black, red and tan; dark 
brown, buff and red. These are not all the good combinations, but they are some of 
the most popular. 

For gray matt board or other gray material: The lettering may be black, white, 
red, green, blue, or gold. Black lettering on a gray card, with white shading or out¬ 
lining, and with a little touch of red, bright green, or gold is very good and makes a 
strong card. 

White lettering with red and gold decorations, or blue and gold, or two shades of 
green, a bright and a dark green, are very attractive. 

The red, green and blue lettering will look well with white and gold decorations. 

As for color combinations for other colored cards it would take a complete book 
to describe the many combinations. You will find however many helpful suggestions 
in the description of the cards. 







86 


BAKER’S SHOW CARD BOOK 


The Price of Cards 

In figuring the price of cards there are several things to be taken into consid¬ 
eration, namely the class of card, whether plain or fancy, the size of the card, the 
length of the inscription, the cost of material and the time expended. Of these the 
most important is your time. 

The cost of material, and by material I mean particularly cardboard, while not 
a very big item it is worth considering, especially in the fancy cards where more 
expensive papers and matt boards are used. 

As for other material such as colors, inks, etc., there is so little used in the execu¬ 
tion of one card that it is too small to be considered except in a general way and the 
only practical way is to include it in the cost of time. 

The average professional card writer should figure on not less than $1.50 per hour 
for his time and expenses with the exception of expensive cardboard or ornaments. 
These should be charged for extra. 

To set an exact standard of prices is impossible, as I have said before the inscrip¬ 
tion must be taken into consideration; not that one or two words or even a half a 
dozen would make any material difference, but there are times when the inscription 
is exceptionally long, and to allow for this I have found it best to adopt a sliding 
scale, or in other words a range of prices. 

This range of prices is for the stock size cards only, which however form the 
larger part of your work and will take care of the long inscriptions. This I think will 






BAKER’S SHOW CARD BOOK 


87 


enable you to judge what similar cards or cards with the same amount of work are 
worth. 

The cost of all materials are included in the prices stated. 

The student in charging for his work cannot at first expect to receive the same 
compensation for his time as the professional, as he lacks the necessary speed and 
skill. My advice to the student is not to sell his work until he can do a fair piece of 
work and when he is able to do this he should charge as much or nearly as much as 
the professional. You should not consider your time at this stage of your career. 
Speed will come with experience and in time you will find that your time is averag¬ 
ing the price stated and with some it will average more. 

The following prices should allow the card writer of average speed to net $1.50 
per hour over and above the cost of his materials. 

Eighth Sheets . 7 x 11 in.$0.25 

Quarter Sheets.11 x 14 in. $0.25 to .35 

Half Sheets.14 x 22 in. .50 to .75 

Full Sheets .22 x 28 in. .75 to 1.25 

These prices are figured to transients—a discount should be allowed to regular 
customers according to the number of cards they use. 










88 


BAKER’S SHOW CARD BOOK 


The odd size card, which may be most any size, should be figured by comparison 
with the amount of work on the stock sizes and enough allowed to take care of any 
waste caused in cutting. 

The fancy cards can only be charged for by the time and material expended. 
To give you a better understanding of what the price of fancy cards should be I 
have stated the price of many of the cards illustrated. 

Inscriptions 

While the inscription is usually furnished the card writer is often asked for sug¬ 
gestions; this is an easy matter for the experienced writer who has written so many 
that he is apt to know just what is wanted. For the beginner this is not so easy and 
at first he is apt to be stumped. To help you in this matter I have selected many 
helpful show card lines and phrases. To call your attention to the Display line or 
word I have written these words or lines in all upper case letters. 

I would suggest that when you are laying out any of these inscriptions that you 
look through the card illustrations; they will help you to good composition of the 
lettering. 

The following suggestions will take c are of most any occasion. I have not classi¬ 
fied them for the reason that what will suit men’s clothing, will with slight changes 
answer for women’s apparel. This is true of many different lines and I feel that if 
they were classified you might overlook some good line because you would expect 
to find it under a certain classification. 








BAKER’S SHOW CARD BOOK 


89 


Besides the lines printed below you will find many more on the illustrated cards. 
Keep your eyes open for clever lines, watch the newspapers for advertisements, 
as you would for clippings. There are many clever advertising lines that will answer 
the purpose of show card work. Write these in a little book so that you will not for¬ 
get them. In a short time with very little effort you will have a list that will cover 
every variety of business. 

Show Card Phrases and Lines 

Correct Styles at Correct Prices. 

A Complete Assortment of Correct NECKWEAR. 

Our TOYLAND is Filled with Wonderful Surprises for the Little Folk. 

A Bewildering Assortment of LINGERIE For the June Bride. 

A Timely Sale of Household LINENS at Unusually Attractive Prices. 

Buy Now for Holiday Gift Giving. 

Buy Now While Assortment is Complete and Prices Reasonable. 

Fortunate Prices for Those Who Can Take Advantage of Our STOCK TAKING 
SALE. 

Style and Comfort are Combined in These NEW SPRING SUITS. 

For this Cold Weather We would Suggest One of these Warm REGENT ULSTERS. 
Correct in Style—Modest in Price. 







90 


BAKER’S SHOW CARD BOOK 


Good Style and Workmanship have Spelled Success for SOCIETY BRAND 
CLOTHES. Priced within Reach of All. 

Beautiful SCARFS in the New Fall Colorings. 

The Latest Patterns in SHIRTINGS. These are but a Few of Our Large Assort¬ 
ment. Step in Now and Let Us Show You. 

You like to Wear the CLOTHES Good Dressers Choose. Invariably They Choose 
This Store. 

You are in Good Company When You are in Our CLOTHES. 

BOYS’ Wants from Our Furnishing Dept. 

Just the Thing for Your Vacation, Soft Flannel OUTING SHIRTS. $3.00. 

Pretty Patterns in Summer WASH MATERIALS. Select Now from a New Stock. 
Just arrived New SILK SWEATERS To Suit the Most Fastidious. 

Midsummer and Early Fall MILLINERY. 

New SUITS for Spring and Summer. Exceptional Quality at these Prices. 

The Newest FOOTWEAR is in. Come and See It. 

Buy a CHESTERFIELD Now at Reduced Prices. 

These Dainty DRESSES for Porch and Street Wear at Surprisingly Low Prices. 
Autumn’s Newest FROCKS. 

Glimpses of AUTUMN SUIT Styles. 

Just Received for OPENING DISPLAY. 

Winter APPAREL of Excellent Fabrics and Excellently Tailored. 

Summer DRESSES for Women and Children, Greatly Reduced. 

Exceptional SHOE BARGAINS Offering Women’s High Boots and Smart Pumps 
at Lowest Possible Prices. 







BAKER’S SHOW CARD BOOK 


91 


An Example of the Many BARGAINS in BEDROOM FURNITURE. 

You Will Need These TRUNKS, SUIT CASES and BAGS on Your Vacation. 
When You Think of MUSIC Think of S M I T H ’ S. All the Latest Popular and 
Classical Music. 

Just In. The Newest Autumn COLLARS and TIES. 

New and Dainty Summer DRESSES at Reasonable Prices. 

Newest Designs in ART NEEDLE WORK. 

Fine Philippine LINGERIE at Astonishingly Low Prices. 

Just a Suggestion of the Many Beautiful CHRISTMAS GIFTS Displayed in Our 
Gift Room. 

Smart GLOVE NOVELTIES at Prices that Will Surprise You. 

Some Wonderful OLD LACE Priced Wonderfully Low. 

Reproductions of The Latest PARIS MODELS Just as Pretty Just as Well Made. 
Scalp Preparations to PRESERVE SCALP and HAIR. 

Try This Delicious CONFECTION and Be a Steady Customer. 

A COOL DRINK For Hot Weather. 

The Newest Fall Street Costumes. 

Select Now and SAVE MONEY. 

PRESCRIPTION COMPOUNDING Is the Most Important thing we do. 

Exquisite NEW LACES Reasonably Priced. 

NEW SMART STYLES to Fit all Figures and Please all Tastes. 

A NEW BLOCK for Fall. 






92 


BAKER’S SHOW CARD BOOK 


Plain Cards 

The black and white cards illustrated in Plate 60 are good examples of the com¬ 
position of the average plain card. Note the simple lettering and the strength of the 
display line; this is the making of the card. These cards were all done in white on 
black cardboard; they will be even more effective on colored matt boards with white 
or other suitable colors for lettering. 

You should use these cards as well as all other cards illustrated as lessons. Copy 
them and then compare your copy with the original; note the mistakes you have 
made and try to correct them in another copy. You should keep samples of your 
work from day to day for comparison so that you may see the improvement you are 
making; this will give you encouragement and we all need plenty of encouragement 
to succeed no matter what we undertake. 

On the following pages are illustrated many beautiful examples of up - to - date 
show cards with description of colors and materials. Each and every card is a lesson 
in Composition, Spacing, Lettering and Pleasing Color Combinations. 







BAKER’S SHOW CARD BOOK 


93 


1 


wgr Show 

»^ e zr::~" r 

O^ohGouhtb,- 


WOMENS NOVELTY 


cATany Exclusive Designs 

at Very hitt/e Prices 


Dreamland 

Sailops 




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• rue *° G„iMe r * T r ° hif* 

Veas<> nah 

Quire 




SvxT G\*^* 
3 a 


t* aV 


e-u'H 







PLATE 60 





94 


BAKER’S SHOW CARD BOOK 


Plate 61. Light brown card lettered with white, picture done in brick red with 
dark brown outline. This is a very good example of lettering out of center yet well 
balanced. Size, 20x30. Price, $1.50. 


Plate 62. Light gray card striped at top and bottom with white. The lettering 
is done in dark blue, the large lettering being outlined with white. Note the close 
arrangement of the letters in the word outergarments; unique effects may be obtained 
by freakish spacing. Size, 22x32. Price, $1.50. 







BAKER’S SHOW CARD BOOK 


95 






Fall adc Kid. 
Coif and. "die Calf 
Cbs Justified Co 
rroduce CSesc fine Shoes 



PLATE 61 


PLATE 62 












96 


BAKER’S SHOW CARD BOOK 


Plate 63. Grayish blue card with white lettering, light blue underlining, and dec¬ 
oration. Size, 15x28. Price, $1.00. 

Plate 64. Light brown card, white lettering decorations done in two shades of 
darker brown. Size, 12x20. Price, $0.75. 


Plate 65. A combination of purple and white cards; the white is pasted on thin 
purple card leaving the purple border. The purple center with elk head was cut out 
and pasted on the white board pasting top only which assures the laying flat of the 
paper. The purple card is outlined on the white with a thin line of purple. Letter¬ 
ing white with gold outline, decoration dark purple and gold. Size, 15x28. Price, 
$1.25. 





BAKER’S SHOW CARD BOOK 


97 



PLATE 63 


PLATE 64 


PLATE 65 









98 


BAKER’S SHOW CARD BOOK 


Plate 66. White board air brushed lavender, white panel, picture is newspaper 
clipping in colors. Egg shell was cut from heavy card and glued on; it is air brushed 
with purple and outlined with dark purple; lettering white. Size, 16x30. Price, 
$i- 75 * 


Plate 67. White pebbled board with purple paper center, white lettering under¬ 
lined with deep purple; decorations purple outlined with gold. Size, 12x22. Price, 
$1.00. 


Plate 68. White card air brushed lightly around oval with soft green. Letter¬ 
ing dark green with price figures air brushed black to give a raised effect to the 
figures. Oval is outlined with white, decorations done in two shades of green. Size, 
22x28. Price, $1.25. 






BAKER’S SHOW CARD BOOK 


99 



n 

[&1/I/0 DILI/ 

V J 

^'r N 

1 

S Hlafc "lour 

7 Headquarter 3 




PLATE 66 


PLATE 67 
PLATE 68 

































100 


BAKER’S SHOW CARD BOOK 


Plate 69. White matt board, dark green lettering, pink and light green decora¬ 
tion. Size, 15x20. Price, $0.75. 

Plate 70. White matt board, black lettering, brown and gold decorations. Size, 
15x20. Price, $0.75. 

Plate 71. Cream card, olive green lettering, decorations pea green and gold. 
Size, 15x20. Price, $0.75. 

Plate 72. Gray card with dark greenish blue lettering, decoration white. Size, 
15x20. Price, $0.75. 








BAKER’S SHOW CARD BOOK 


PLATE 69 
PLATE 70 


PLATE 71 
PLATE 72 






















102 


BAKER’S SHOW CARD BOOK 


Plate 73. Cream pebbled card with panel of same material. Picture is colored 
clipping from magazine, and is finished with a little hand work of light yellow. The 
lettering is done in dark green, decorations at bottom yellow and green. Size, 20x40. 
Price, $2.00. 

Plate 74. Gray board with lavender air brushed panel. Egg shell is cut out and 
glued on and is air brushed purple, lettering on shell white with lavender shading and 
outlined with deep purple. Balance of lettering deep purple with the large letters 
outlined white, decorations lavender, purple, green and gold. Size, 20x40. Price, 
$2.00. 







BAKER’S SHOW CARD BOOK 


103 



















104 


BAKER’S SHOW CARD BOOK 


Plate 75. Tan card with oatmeal board panel. Large lettering yellow, air 
brushed with red and outlined with dark brown, small lettering white, decorations 
brick red, yellow and dark brown. Size, 16x32. Price, $1.50. 


Plate 76. Plain tan card with brown mottled panel, large lettering and oval yel¬ 
low air brushed with red and outlined with dark brown. Small lettering white, dec¬ 
orations brick red, yellow and dark brown. Size, 23x34. Price, $2.00. 







BAKER’S SHOW CARD BOOK 


105 



PLATE 75 


PLATE 76 











106 


BAKER’S SHOW CARD BOOK 


Plate 77. Brown oatmeal board, lettering white, large letters outlined air 
brushed and striped with rich brown. Decorations tan and brown. Small lettering 
underlined with brown. Size, 25x35. Price, $2.00. 


Plate 78. Brown oatmeal board, panel of greenish brown. Large letters yellow 
with air brush shading of brown, small lettering dark brown. Decorations dark brown, 
brick red and tan. Size, 20x35. Price, $1.75. 







BAKER’S SHOW CARD BOOK 


107 































108 


BAKER’S SHOW CARD BOOK 


Plate 79. Tan card with three panels of brown card glued on. Lettering white, 
large lettering outlined with dark brown. Decorations dark green and tan. Size, 
16x28. Price, $1.75. 

Plate 80. Grayish blue card with white lettering. Decorations light and dark 
blue. Top of card shaded with light blue airbrushed. Large lettering shaded on 
left side with dark blue. Size, 15x34. Price, $1.75. 

Plate 81. Blue mottled card with dark blue panel. Large lettering light blue 
with white edge on right side, small lettering white. Size, 16x28. Price, $1.75. 








































110 


BAKER’S SHOW CARD BOOK 


Plate 82. Mottled dark brown card glued on mottled light brown card. White 
lettering, large letters outlined with gold, decoration done in brick red and light tan 
with dark brown outline. Size, 18x33. Price, $2.00. 

Plate 83. Golden brown oatmeal paper pasted on heavy board, large lettering 
white with brown air brush shading and outlined with dark brown, small lettering is 
done in white underlined with brown. Decorations very light brown with outline of 
darker brown. Size, 21x32. Price, $1.75. 






BAKER’S SHOW CARD BOOK 


111 








112 


BAKER’S SHOW CARD BOOK 


Plate 84. 
lemon yellow 
brown. Size, 


Brown mottled card with smooth panel a shade darker; large lettering 
with brown outline, small lettering white, decoration blue, green and 
17x32. Price, $1.75. 


Plate 85. Tan mottled card with brown panel of smooth board, large lettering 
yellow air brushed with brown, small lettering white, decoration, maple leaves, out¬ 
lined with dark brown with air brushed background. Size, 17x31. Price, $1.75. 


Plate 86. Card and panel same as Plate 84, large lettering white, decoration 
yellow, green and brown. Size, 17x32. Price, $1.75. 







BAKER’S SHOW CARD BOOK 


113 





















114 


BAKER’S SHOW CARD BOOK 


\ 


Plate 87. Gray card with white lettering outlined with black leaving a thin line 
of gray between, white clouds surround the larger lettering also leaving a thin gray 
line, sky is light blue, the mound and figure are the gray of the card and finished in 
green with a little black used on the figure. The lines used for border are of light 
blue. This is a very attractive card for spring. Size, 30x35. Price, $2.50. 







BAKER’S SHOW CARD BOOK 


115 





















116 


BAKER’S SHOW CARD BOOK 


Plate 88. Rich brown panel on light brown card, black pen and ink figure 
enlarged from a newspaper clipping with the pantagraph. Hat, cuffs, collar, spats 
and lettering done in white. Size, 15x30. Price, $1.50. 

Plate 89. Brown panel on light brown card with small panel of the light brown 
card. Lettering red with white outline for display and dark brown and white for 
small lettering. Picture is a colored magazine clipping. Size, 18x32. Price, $2.00. 

Plate 90. Dark smooth finished green panel on gray card with pen and ink fig¬ 
ure enlarged with pantagraph. Hat, collar, cuffs, spats and lettering done in white. 
Size, 15x30. Price, $1.50. 

These cards are very much more effective in the original colors than in the repro¬ 
duction and are real novelties. 




















118 


BAKER’S SHOW CARD BOOK 


Plate 91. Gray card, picture white, sun gold, turkey a clipping in black, browns, 
tans and red. Lettering black with red capitals shaded with white. Black lines across 
the card. Size, 11x20. Price, $1.50. 


Plate 92. Lavender card with colored clipping. Lettering white with purple and 
gold decorations and shading. Lines across bottom purple and white. Size, 16x30. 
Price, $1.50. 


Plate 93. Dark blue card. Lettering and boat in white. Sky and clouds in pink¬ 
ish lavender, a little darker shade being used for the outlining of the clouds. Water 
green and white. Size, 14x32. Price, $2.00. 









BAKER’S SHOW CARD BOOK 


119 






















120 


BAKER’S SHOW CARD BOOK 


Plate 94. Tan with golden brown panel. Lettering white with outline of red 
around word FALL. Circle in light tan, white and red. Letters in circle red with 
brown shading. Border lines and decorations in red, tans and brown with a touch of 
gold in the flowers at top and the light spots at the bottom. Size, 20x35. Price, $1.75. 


Plate 95. Light gray panel on darker gray card with display letter of dark green 
outlined with white. Small lettering white with shading of green. Decorations and 
outlines in greens and gold with a touch of white. Size, 20x35. Price, $1.75. 






































122 


BAKER’S SHOW CARD BOOK 


Plate 96. Gray card with white panel. Large and small script lettering red, 
other lettering black. Picture is a magazine clipping with outline of pink. Size, 
20x35. Price, $1.50. 


Plate 97. Gray card, red lettering with white outline at the top and white letter¬ 
ing with dark green outline at the bottom. Picture is poster clipping. Road and foli¬ 
age done by hand in white and greens. Size, 20x35. Price, $1.75. 







BAKER’S SHOW CARD BOOK 


123 



PLATE 97 


PLATE 96 




ny wifes gone 
to the Country 
but I still have 


Hurrah. 








































■ C 

























































124 


BAKER’S SHOW CARD BOOK 


Plate 98. Black card, lettering and upper part of ship white. Stacks buff with 
red tips. Flags all colors. All the black is the natural surface of the card. Water 
green and blue with white foam. Sky is done in spatter work in two shades of blue 
with light shade at top. The streaks across the sky are grayish white. Size, 22x28. 
Price, $3.00. 







BAKER’S SHOW CARD BOOK 


125 



Portland to 
S an Francisco 












126 


BAKER’S SHOW CARD BOOK 


Plate 99. Black card with poster picture in two shades of grayish green and 
white. The figure and black lettering is the natural surface of the card. Suit box is 
lavender. Stripes and buttons on boy’s uniform in gold. Lettering at the top grayish 
green with white outline. Picture enlarged with pantagraph from magazine clip¬ 
ping. Size, 22x28. Price, $3.00. 


V 






BAKER’S SHOW CARD BOOK 


127 
































































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